Video

[ The experience as an architecture photographer allows me to realize video for documentary purposes, such as internet promos. ]

This video shows the exhibition project entitled Cantiere del ’900, aimed at valorising the vast and varied Intesa Sanpaolo collections of twentieth century art. The opening exhibition in this ambitious project, curated by Francesco Tedeschi, presents 189 works from the Italian post World War II period selected from the bank’s collections.

This video shows the exhibition project entitled L’Ottocento, Da Canova a Boccioni, which retraces one hundred years of art history, the Italian nineteenth century. The starting point is provided by the exceptional series of thirteen late eighteenth-century bas-reliefs by Antonio Canova, right up to the highly symbolic step towards the twentieth century seen in the four pre-futuristic works by Umberto Boccioni.

Curated by Fernando Mazzocca, the exhibition is divided into thirteen sections and twenty-three rooms located inside buildings of major historical, architectural and decorative value, redesigned and adapted by architect Michele De Lucchi: Palazzo Anguissola Antona Traversi, a landmark of eighteenth to nineteenth turn-of-the-century architecture, and the adjoining Palazzo Brentani, steeped in the atmosphere of nineteenth century noble residences.

Some surprises await visitors in the ample space given over to nineteenth century Lombardy art, with views of the Milan of bygone times, of the Cathedral and the former Naviglio canals as well as highlights from the Risorgimento, amidst battles and private scenes.

L’ora italiana features twenty disks, all of the same size, on which fragments of images appear and are arranged in a space without any descriptive connotations. Each of the twenty disks features a clock, in different positions and each one set at a different time, accompanied by changing lighting conditions and sound.
The installation attracts and involves, yet at the same time creating unease and, as a result, provoking reflections and the viewer’s desire for knowledge.
In the twenty disks, fragments of daily life captured on the streets of Bologna in that period emerge, partially erased by the colour white, which alters their ability to be read.
The artist seeks to explore how art might react, with its means, to the tragedy that inspired it and to which it attempts to provide an answer.
The sequence of disks is well thought out, as shown by the sketches made by the artist, which he kept without ever publishing. These include the texts that Isgrò later decided to erase, preferring to give the role of the “word” to the ticking of passing time, which accompanies the effect of the images present and erased.

L’ora italiana, in the years following its debut in Bologna in 1986, was installed at the Galleria Manuela Allegrini in Brescia in 1993 and in the retrospectives dedicated to Isgrò in 2001 in the church of Santa Maria dello Spasimo in Palermo, in 2008 at the Centro per l’arte contemporanea Luigi Pecci in Prato, in 2009 in the Galleria del Credito Valtellinese in Milano and in Istanbul (Taksim Sanat Galerisi) in 2010.

With the exhibition 1963 e Dintorni – Nuovi segni, nuove forme, nuove immagini (1963 and Surroundings – New signs, new forms, new images) the Gallerie d’Italia Piazza Scala looks back 50 years to the year 1963.

The exhibition consists of a core of 30 works from the collection Intesa Sanpaolo and gives the visitor an overview of the direction in which the Italian contemporary art was going in 1963.

That year was not only of political importance worldwide – with the Cold War at its highpoint, U.S. President John F. Kennedy being killed in Dallas, and the economic growth slowing down for the first time after World War II – but also of particular importance to the arts and culture in Italy.

Artists formed groups like the “Scuola di Piazza del Popolo” in Rome (with Schifano, Lombardo, Mambor, Festa, Angeli, Maselli), responsible for the rise of Pop Art in Italy, and the “Gruppo Uno” (with Biggi, Carrino, Frascà, Pace, Santoro and Uncini) proponing the idea of ​​painting related to the theory of perception, and suggesting a different function of the artist within society.